It is rare to capture such beauty in a gangster-themed film. One of its beauties lies in the color texture of the film, which is warm in tone and mixed with a lot of black. Each frame is like an old photo framed in a wooden frame. What I like most about the film is the shots that zoom in from near to far, from subtle to wide; often from one person or object to the vast sea of ????people in the entire neighborhood.

The second beauty is that the film travels back and forth between time, so smoothly that sometimes it inevitably makes people feel like a dream. In the transition between time and space, there is no suggestive "flash back" at all, such as the theme character being deep in thought, or fading in and out, but a direct transition; and such transition is often through, for example, staring. For example, when "Noodles" stares at the glass mirror door of the train station, it directly transforms into "Noodles"'s aging face thirty-five years later. The camera zooms out - the audience sees the New York train that has also been transformed in thirty-five years. Station, the music is the famous "yesterday" by the Beatles, which fits that era perfectly.

The third beauty is that there are some scenes that I like better. Among them, the scene where Patrick buys a cream cake in exchange for Peggy's body is the most impressive. Patrick was estimated to be around thirteen or fourteen years old at that time. He heard that a cream cake (or something equivalent) could be exchanged for Peggy to sacrifice her body, so he probably saved up money for several days and bought a cake decorated with cream and decorated with red. One cherry, well packaged, and headed to Peggy's house. Unexpectedly, Peggy was taking a bath, and he caught a glimpse of half of her naked back. With her eyes shining, the little deer bumped around, so he had to sit patiently on the stairs and wait. There are two temptations inside and outside the house. The film completely records how Patrick finally succumbed to the deliciousness between his carnal desires and the cream cake, and ate the cream cake bit by bit. From the beginning, I put a bit of cream from the corner of the cake into my mouth and sucked it, to opening the wrapping paper and picking up the red cherry and putting it down several times. I struggled between eating and not eating, and finally ate the red cherry. The cherry is ready to be eaten. Losing the cherry on the cake is like a girl losing her virginity. Therefore, the cream cake without the cherry naturally has no value as a gift. So Patrick simply let go of his courage and started enjoying the cake. For me, the feeling of watching this paragraph is not so much watching Patrick succumb to the cream cake between two desires, but rather watching how Patrick eats his own virginity, especially That red cherry. The process of eating the cream cake during this period is like the process of a man tasting a woman for the first time. After eating the red cherries, there are only a few left to munch on. Of course, this is just a personal viewing experience. I like to quote the story of Su Dongpo and Foyin, which can be extended to the fact that I have a Tai Chi diagram hanging in my chest.

The fourth beauty is the beauty of structure. I only watched the film once. If I watch it several more times, I should be able to list a detailed structure of the film and the correspondence between the details in different time and space. Just give two examples. We saw Noodles for the first time in the Chinese Theater, and we also said goodbye to Noodles in the Chinese Theater; Max appeared in the film sitting on a high carriage, and finally jumped into a garbage truck to say goodbye to the world and the audience. The fourth beauty is the beauty of music. Director Leon collaborated with composer Morricone for the last time. Similar to the soundtrack in "Once upon a time in the west", the soundtrack in this film also has different themes. For example, Deborah has her own theme, and there are also themes to express friendship and love. Exclusive theme music, even cockey has his own song, and the most heartbreaking thing is the theme called "poverty" that strikes people's hearts. The "Childhood" movement is played with a panpipe, which is sad and unreal. After Noodles rapes Deborah, he returns to the quartet after wandering for a long time. Without remembering whether it was Squint or Patrick, he plays this tune: childhood memories. The inner structure of the music echoes the plot structure of the film. and intertwined, complementing each other, like a dream. At the end of the film, time and space go back to the night when Noodles "reported" on his companions. He came to the Chinese Theater in Chinatown; the shadow puppet show was still being performed, and the light projected the shadows on the white cloth. You sing, and I will appear on the stage----it turned out to be all A phantom. Noodles took a few puffs of cigarette, lay down, and saw Noodles lying in the candlelight through the mosquito net - and smiled. He finally got high.